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Drama and Theatre in Early Modern Europe

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Drama and Theatre in Early Modern Europe Drama and Theatre in Early Modern Europe Editor-in-Chief Jan Bloemendal (Huygens Institute for the History of the Netherlands) Editorial Board Cora Dietl (Justus-Liebig-Universität Gieβen ) Peter G.F. Eversmann (University of Amsterdam) Jelle Koopmans (University of Amsterdam) Russell J. Leo (Princeton University) Volume 6 The titles published in this series are listed at brill.com/dtem 9789004329751_Gvozdeva_text_proof-02.indb 2 8/24/2016 6:30:41 PM Dramatic Experience The Poetics of Drama and the Early Modern Public Sphere(s) Edited by Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat LEIDEN | BOSTON 9789004329751_Gvozdeva_text_proof-02.indb 3 8/24/2016 6:30:42 PM This is an open access title distributed under the terms of the CC-BY-NC License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Cover illustration: Bauerntheater (Peasants’ Theatre), by Jakob Placidus Altmutter, c. 1805. Pen-and-wash drawing, 179 × 254 mm. Courtesy of Innsbruck, Tiroler Landesmuseum Ferdinandeum, Grafische Sammlungen, TBar/1149. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/ Want or need Open Access? Brill Open offers you the choice to make your research freely accessible online in exchange for a publication charge. Review your various options on brill.com/brill-open. Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 2211-341X isbn 978-90-04-32975-1 (hardback) isbn 978-90-04-32976-8 (e-book) Copyright 2016 by Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat. This work is published by Koninklijke Brill NV. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. Koninklijke Brill NV reserves the right to protect the publication against unauthorized use and to authorize dissemination by means of offprints, legitimate photocopies, microform editions, reprints, translations, and secondary information sources, such as abstracting and indexing services including databases. Requests for commercial re-use, use of parts of the publication, and/or translations must be addressed to Koninklijke Brill NV. This book is printed on acid-free paper and produced in a sustainable manner. 9789004329751_Gvozdeva_text_proof-02.indb 4 8/24/2016 6:30:42 PM Contents Acknowledgments vii List of Illustrations and Tables viii Contributor Biographies ix Introduction: Dramatic Experience: The Poetics of Drama and the Early Modern Public Sphere(s) 1 Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat 1 Opening Spaces for the Reading Audience: Fernando de Rojas’s Celestina (1499/1502) and Niccolò Machiavelli’s Mandragola (1518) 13 Sven Thorsten Kilian 2 Why Do Men Go Blind in the Theatre? Gender Riddles and Fools’ Play in the Italian Renaissance Comedy Gl’Ingannati (1532) 35 Katja Gvozdeva 3 The Accademia degli Alterati and the Invention of a New Form of Dramatic Experience: Myth, Allegory, and Theory in Jacopo Peri’s and Ottavio Rinuccini’s Euridice (1600) 77 Déborah Blocker 4 Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court 118 Wendy Heller 5 Entertainment for Melancholics: The Public and the Public Stage in Carlo Gozzi’s L’Amore delle tre melarance 140 Tatiana Korneeva 6 Pierre Nicole, Jean-Baptiste Dubos, and the Psychological Experience of Theatrical Performance in Early Modern France 172 Logan J. Connors 7 The Catharsis of Prosecution: Royal Violence, Poetic Justice, and Public Emotion in the Russian Hamlet (1748) 189 Kirill Ospovat 9789004329751_Gvozdeva_text_proof-02.indb 5 8/24/2016 6:30:42 PM vi contents 8 The Politics of Tragedy in the Dutch Republic: Joachim Oudaen’s Martyr Drama in Context 220 Nigel Smith 9 Devils On and Off Stage: Shifting Effects of Fear and Laughter in Late Medieval and Early Modern German Urban Theatre 250 Hans Rudolf Velten 10 Imagining the Audience in Eighteenth-Century Folk Theatre in Tyrol 269 Toni Bernhart 11 Nô within Walls and Beyond: Theatre as Cultural Capital in Edo Japan (1603–1868) 289 Stanca Scholz-Cionca Index 307 9789004329751_Gvozdeva_text_proof-02.indb 6 8/24/2016 6:30:42 PM chapter 4 Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court Wendy Heller In 1690, Giovanni Maria Crescimbeni (1663–1728) and Gian Vincenzo Gravina (1664–1718), along with several of their literary colleagues, established the Arcadian Academy in Rome. Railing against the excesses of the day, their aim was to restore good taste and classical restraint to poetry, art, and opera. That same year, a mere 460 kilometres away, the Farnese court in Parma offered an entertainment that seemed designed to flout the precepts of these well- intentioned reformers.1 For the marriage of his son Prince Odoardo Farnese (1666–1693) to Dorothea Sofia of Neuberg (1670–1748), Duke Ranuccio II Farnese (1639–1694) spared no expense, capping off the elaborate festivities with what might well be one of the longest operas ever performed: Il favore degli dei, a ‘drama fantastico musicale’ with music by Bernardo Sabadini (d. 1718) and poetry by the prolific Venetian librettist Aurelio Aureli (d. 1718).2 Although Sabadini’s music does not survive, we are left with a host of para- textual materials to tempt the historical imagination. Aureli’s printed libretto, which includes thirteen engravings, provides a vivid sense of a production 1 The object of Crescimbeni’s most virulent condemnation was Giacinto Andrea Cicognini’s Giasone (1649), set by Francesco Cavalli, which Crescimbeni both praised as a most per- fect drama and condemned for bringing about the downfall of the genre. Mario Giovanni Crescimbeni, La bellezza della volgar poesia spiegata in otto dialoghi (Rome: Buagni, 1700), Dialogo iv, pp. 140–42; Ellen Rosand, Opera in Seventeenth-Century Venice (Berkeley: University of California Press), pp. 276–77. On the aesthetics of the Arcadian Academy, see Susan M. Dixon, Between the Real and the Ideal: The Accademia degli Arcadi and its Garden in Eighteenth-Century Rome (Newark: University of Delaware Press, 2006); Stefanie Tcharos, Opera’s Orbit: Music Drama and the Influence of Opera in Arcadian Rome (Cambridge: Cambridge University Press, 2011). 2 On Aureli, see Claudio Mutini, ‘Aureli, Aureli’, Dizionario Biografico Italiani, vol. iv (1962), <http://www.treccani.it/enciclopedia/aurelio-aureli_(Dizionario-Biografico)>; Wendy Heller, ‘The Beloved’s Image: Handel’s Admeto and the Statue of Alcestis’, Journal of the American Musicological Society, 58 (2005), pp. 559–637; Wendy Heller, ‘Poppea’s Legacy: The Julio- Claudians on the Venetian Stage’, Journal of Interdisciplinary History, 36 (2005), pp. 279–302. © wendy heller, ���6 | doi ��.��63/97890043�9768_006 This is an open access chapter distributed under the terms of the CC-BY-NC License. 9789004329751_Gvozdeva_text_proof-02.indb 118 8/24/2016 6:30:55 PM Meta-Opera and Metamorphoses at the Farnese Court 119 whose opulence was excessive, even by Baroque standards.3 The unusually large cast included twenty-four principal singers, some of whom were bor- rowed from neighbouring courts such as Mantua and Modena. In addition, the libretto lists seventeen choruses and seven ballets featuring goddesses, breezes, warriors, nymphs, virgin huntresses, cupids, demons, stars, tritons, graces, fauns, and nereids who populated the stage for this remarkable perfor- mance. The set designers, painters, and engineers were also kept busy produc- ing seventeen different sets and no fewer than forty-three machines that bore characters to and fro ‘in the air and the earth’ (‘in aria, e in terra’). To accomplish all of this, Ranuccio II enlisted the aid of some of the period’s most renowned stage designers and machinists: Domenico Mauro (fl. 1669–c. 1707), who is credited with the invention and painting of the scenes, as well as his brothers Gasparo (fl. 1657–c. 1719) and Pietro (fl. 1669–c. 1697), who devised the machines. Considered among the principal designers in Venice during the third quarter of the seventeenth century, the Mauro broth- ers were much in demand at courts outside Venice, including Munich, Turin, Pesaro, and Milan.4 The scenes for the opera’s royal baths were designed and executed by a member of another family who would dominate stage design in the eighteenth century: Ferdinando Galli di Bibiena (1657–1743).5 Not surprisingly, all of this resulted in an unusually long performance—as many as eight hours, according to the court publicist Giuseppe Notari: 3 Aurelio Aureli, Il favore degli dei, Drama Fantastico musical Fatto Rappresentare dal Serenissima Sig. Duca di Parma (Parma: Stampa Ducale, 1690). On the Parma entertain- ments, see Lina Balestrieri, Feste e spettacoli alla corte dei Farnesi: contributo all storia del meodramma (Parma: Palatina Editrice, 1981), pp. 48–49; Giuseppe Cirillo and Giovanni Godi, Il trionfo del barocco a Parma nelle feste farnesiane del 1690 (Parma: Banca Emiliana, 1989); Irène Mamczarz, Le Théâtre Farnese de Parme et le drame musical italien (1618–1734): étude d’un lieu théâtral, des rapresentations, des formes, drame pastoral, intermèdes, opéra-tournoi, drame musicale (Florence: Olschki, 1988); Cesare Molinari, Le nozze degli dèi: Un saggio sul grande spettacolo italiano nel Seicento (Rome: Bulzoni, 1968). 4 Mercedes Viale Ferraro, ‘The Evolution of Stage Design’, in Opera on Stage: The History of Italian Opera, part ii, vol. v, ed. by Lorenzo Bianconi and Giorgio Pestelli, trans. by Kate Singleton (Chicago: University of Chicago, 2002), p. 53; Evan Baker, From the Score to the Stage: An Illustrated History of Continental Opera Production and Staging (Chicago: University of Chicago Press, 2013). 5 Anna Coccioli Matroviti, ‘Galli Bibiena, Ferdinando’, Dizionario Biografico degli Italiani, vol. li (1968), <http://www.treccani.it/enciclopedia/ferdinando-galli-bibiena_ (Dizionario-Biografico)>. 9789004329751_Gvozdeva_text_proof-02.indb 119 8/24/2016 6:30:55 PM 120 Heller In questo fu rappresentata la grand’ opera intitolata Il Favore degli Dei; fatica della famosa penna del Sig.
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